A Quote by Vincente Minnelli

I see wonderful films by Bertolucci, Visconti, and Fellini. — © Vincente Minnelli
I see wonderful films by Bertolucci, Visconti, and Fellini.
I felt I should also contrast Visconti's treatment of the novella - usually damned by Mann fans (who typically respect Britten's more "faithful" adaptation). The Visconti film does many quite wonderful things, although there are good reasons for the condemnation.
With a few exceptions, Fellini's films have failure and despair running through them: Life continues, but I can't imagine 'Felliniesque' as an exclusively uplifting adjective. Fellini's best films are the ones that distill this essence -- the paradoxical quality of melancholic ecstasy, a surreal, bittersweet vitality -- to perfection.
With Fellini, the fear dropped out of my work because it was such a happy experience... hanging out with Fellini, having pasta on the set with Fellini, and going out with Fellini!
I wasn't allowed to see movies when I was a child. It was against the religion I was raised in, Fundamentalist Baptist. I didn't go into a commercial movie house until I was a senior in college, and that was on the sly. It wasn't until I was in graduate school that I immersed myself in films. Then, I went to see all the films by Bergman, Fellini, etc.
The films I liked were European films - Federico Fellini, Michelangelo Antonioni, François Truffaut.
I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.
Fellini is a just a province kid. Rome exists for Fellini, not the other way around.
Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley... Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it.
That's what I always loved about [Federico] Fellini's films: You see the weird joy of the weird filmmaking family and the abstract craziness that goes along with it, and there's something about it that's quite beautiful.
I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.
Fellini was [David] Lynch's master and his biggest idol, and he believed in Fellini's view that film is a dream, it's not reality. It's all about delving into the unconscious.
Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia.
One day, I read an extremely vague ad looking for someone interested in working in film. Seeing as I loved watching films, I replied, and I found myself working for this guy who did his own personal editing of scenes from Antonioni and Fellini films.
Well, Fellini... there is always Fellini.
Very few movies remain in public memory as landmark films, and I want to see whether '3 Idiots' will be up there with some of the wonderful films that have come out of this country... Hopefully, we'll come to know in a few years whether it can become one of the great films.
Very few movies remain in public memory as landmark films and I want to see whether 3 Idiots will be up there with some of the wonderful films that have come out of this country...Hopefully, we'll come to know in a few years whether it can become one of the great films.
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